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^'7 



Always order * ' DE WITT^S *> Actiii;? Plays. 

PRICK 15 CENTS. 






j>^ /T>%'^M'l^ ACTING PLAYS. W^M 

r-\ I I 4 '-(lViiiikl>ei- 335.) >0/ 

A WARM RECEPTION. 



Comediettci 



I 3»' o INT x: -A. o TC . 

Translated from the German <'I'- Sfjlineegfjsloljer " of 
Rudolf Jarosy, and adapted f<j^r im* i^i^erican Stag^e 

\ 

By MABEL MORSE. 

TOGETHEll WITH 



A Description of the Costumes — Cast of tlie Characters — Entrances 

and Exits— KehUive Positions of tiie Performers on the 

Stage— and the whole of the Stage IJiisiness. 




THE DE WITT PUBLISHING HOUSE, 



No. 33 Hose Street. 



9P^^ 



rC^ 




A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACTING 
PLAYS and DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing 
Plot, Costume, Scenery, Time of Representation, and all other information, mailed 
free and post-paid on application. 



DE "WITT'S 

ETHIOPM AND COMIC MAMA. 



Nothing so thorougli and complete in the way of Ethiopian ?ncl Comic Dramas has ever 
been printed aa those that appear in the following list. Noc ouiy %•<? the plots excellent, the 
characters droll, the incidents funny, the langugpf tiumoicus, out all the situations.Jby-play, 
positions, pantomimic business, scenery, and tricks are so plainly set down and clearly 
explained that the merest novice could pnt any of them on the stage. Included in this 
Catalogue are all the most laughable and effective pieces of their class ever produced. 

*^* In ordering iDlease copy the figures at the commencement of each piece, which 
indicate the number of the piece .in " Dk Witt'^ Ethiopian and Comic Dkama." 

igcg-Any of the following Plays sent, postage free, on receipt oi Thrice— Fifteen Cents 
each. 

J8@~ The figure following the name of the Play denotes the number of Acts. The 
figures in the columns indicate the number of characters — ?.I. male; F. female. 



M. F. 

141. Absent Minded, Ethiopian farce, 1 

act ^ .,..*.. 3 1 

73. / frican Box, burlesque, 2 i^ sies. . . 5 

107. African us Bluebeard, musical Ethi- 

opian burlesque, 1 scene 6 2 

113. Ambition, farce, 2 scenes 7 

133. Awful Plot (An) Ethiopian farce, la. 3 1 

43. Baby Elephant, sketch, 2 scenes 7 1 

42. Bad'Whiskey, Irish sketch, 1 scene. 2 1 
79. Barney's Courtship, musical inter- 
lude, 1 act 1 2 

40. Big Mistake, sketch, 1 scene 4 

- fi. Black Chap from Whitechapel, Ne- 
gro piece 4 

10. Black Chemist, sketch, 1 scene .... 3 

11. Black-Ey'd William,sketch,2 scenes 4 1 
146. Black Forrest (The),Ethiopian faree, 

lact ...2 1 

110. Black Magician (De),Ethiopian com- 

icalitv 4 2 

126. Black Statue (The), Negro farce 4 2 

127. Bliuks and Jinks, Ethiopian sketch. 3 1 

128. Bobolino, the Black Bandit, Ethio- 

pian musical f area, 1 act 2 1 

120. Body Snatchers (The),Negro sketch, 

2 scenes 3 1 

78. Bogus Indian, sketch, 4 scenes 5 2 

89. Bogus Talking Mackine (The), farce, 

1 scene 4 

24. Bruised and Cured, sketch, 1 scene. 2 

108. Charge of the Hash Brigade, comic 

Irish musical sketch 2 2 

148. Christmas Eve in the South, Ethio- 
pian farce, I act 6 2 

35. Coal Heaver's Revenge,Negro sketch, 

1 scene 6 

112. Coming Man (The), Ethiopian sketch, 

2 scenes 3 1 

41. Cremation, sketch, 2 scenes 8 1 

144. Crowded Hotel (The), sketch, 1 sc. 4 1 
140. Cupid's Frolics, sketch, 1 scene.... 5 1 

12 Daguerreotypes, sketch, 1 scene . . . , 3 
53. Damen and Pythias, biirlesque, 2 sc. 5 1 
63. Darkey's Stratagem, sketch, 1 scene 3 1 
131. Darkey Sleep Walker (The), Ethio- 

Dian sketch, 1 scene 3 1 

f 



124. Deaf as a Post, Ethiopian sketch.. . . 2 
111. Deeds of Darkness, Ethiopian ex- 
travaganza, 1 act 6 

139. Desperate Situation (A), farce, 1 sc. 6 

60. Draft (The), sketch, 2 scenes 6 

61. Dutchman's Ghost, 1 scene 4 

95. Dutch Justice, laughable sketch, 

1 scene H 

67. Editor's Troubles, farce, 1 scene.. . 6 
4. Eh ? What is it ? sketch 4 

138. Election Day, Ethiopian farce, 2 sc. 6 
98. Elopement (The), farce, 2 scenes... 4 

52. Excise Trials, sketch, 1 scene 10 

25. Fellow that Looks like Me, inter- 
lude, 1 scene 2 

88. First Night (The), Dutch farce, 1 act 4 
51. Fisherman's Luck, sketch, 1 scene. 2 
152. Fun in a Cooper's Shop, Ethiopian 

sketch 6 

106. Gambrinus, King of Lager Beer, 

Ethiopian burlesque, 2 scenes 8 

83. German Emigrant (The), sketch, Isc. 2 
77. Getting Square on the Call Boy, 

sketch, 1 scene 3 

17. Ghost (The), Sketch, 1 act 2 

58. Ghost in a Pawn Shop, sketch, 1 sc. 4 

31. Glycerine Oil, sketch, 2 scenes 3 

20. Going for the Cup, interlude 4 

82. Good Night's Rest, sketch, 1 scene. 3 
130. Go and get Tight, Ethiopian sketch, 

1 scene 6 

86. Gripsack, sketch, 1 scene 3 

70. Guide to the Stage, sketch 3 

61. Happy Couple, 1 scene 2 

142. Happy Uncle Rufus, Ethiopian mu- 
sical sketch, 1 scene 1 

23. Hard Times, extravaganza. 1 scene. 5 
118. Helen's Hunny Babies, burlesque. 

1 act 6 

3. Hemmed In. sketch 3 

48. High Jack, the Heeler, sketch, 1 sc. 6 

68. Hippotheatron, sketch 9 

150. How to Pay the Rent, farce, 1 scene 6 

71. In and Ont, sketch. 1 scene 2 

123 Intelligeaee Office (The), Bthiopian 

sketch, 1 scene 2 



A WARM RECEPTION. 



^ €0mcbicUa, 



IN ONE ACT 



TRANSLATEn/FROM |HE GERMAN " IM SCHNEEGESTOBER " OF RUDOLF 
/jAROSY, ADAPTED FOR THE AMERICAN STAGE 



i 



By MABEL MORSE. 



TOGETHER WITH 



A DESCRIPTION OF THE COSTUMES— CAST OF THE CHARACTERS — EN- 
TRANCES AND EXITS — RELATIVE POSITIONS OF THE PERFORM 
ERS ON THE STAGE, AND THE WHOLE OF THE STAGS 
BUSINESS, 



NEW YORK : 

THE-BE WITT PUBLISHIJSTG HOUSE, 

No. 33 Rose Street. 



Copyright, 1890, by R. H. Russell & SoN, 



A WARM RECEPTION. 



CHARACTERS. 






General West, a retired army officer. I Major Fielding, retired from service. 
IiLiAN West, bis d;iugbter. Maky, a servant. 

Aktuue Harding, 



TIME IN PLAYING-THIRTY MINUTES. 



SCENE. 

A small, daintily-fnrnisbed room. Window l. v. e.; door l. 3 E.; grate, with firo 
biiriiiuR, R. 2 e; door r. 3 e.; large door in flat c, ou L. of which is a chair, and on 
R. a small table containing pipes, tobacco, and smoking-cases; table, covered with 
newspapers, l. c ; small table, holding a lamp with hght girned down, r. c. ; chairs 
near tables. 

[For amateur performance both l. window and R. grate may be omitted.] 



COSTUMES. 

General West. — Citizen's out-door dress; heavy overcoat, and cane, hat, and over- 
shoes. 

Major Fielding. — Heavy overcoat, travelling dress, hat, etc. 

Arthur.— Dark suit; light-weight winter overcoat, without fur; hat. Second dress: 
servant's livery. 

Lilian.— T,ight cashmere or silk dress; carriage wrap, lace scarf, bonnet with veil. 

Mary. — Neat housemaid's attire. 



PROPERTIES. 



Travelling-bag; smoking set, with pipes; tea service, with spoons; lamp, cane, 
overshoes, visiting-card, butler's brass-buttoned coat. 



SYNOPSIS. 

General West and Major Fielding, two retired army officers, and old friends, 
have respectively an only daughter, Lilian, and an only son, Arthur, Avhoni tliey 
have arranged to marry. Tlie sou, without having seen the young lady, rejocts the 
choice made by his father, rebels, leaves liis father's house, and, under an assumed 
nnme, takes to the stage, where he achieves success, and is seen by the young lady. 
Some seemingly unfortunate circum.'^tances throw them togethei-, and bring the 
young man to the house of General West, where he is impressed with the beauty 
and worth of the young lady, and is discovered by his father, who has been trying 
in vain to discover his whereabouts. His identity is disclosed, and he finds no 
difficulty in reconciling himself to the choice made for him, and so everything is 
settled to the delight and happiness of all concerned. • 

The piece is a very happy conception, is well worked out, and will be received 
with great favor by amateurs. 



• n-H'^^i 



A ¥AEM RECEPTION, 



SCENE. — General West's Drawing-room.' 

Enter Lilian, c. d. f., carrying a shani in her hand, folio teed hy Ar- 
thur, shivering wdh the cold. Arthur passes to r., turns up light, 
a)id warms himself atjire. 

Lilian {throwing shawl on chair k. of c. d. f.). Your conduct, sir, 
is outrageous. There's no excuse for this efirontery. I wish you to 
understand, at once, that you are very much mistaken if you think I am 
going to lend myself to any such adventure as this. That seems to be 
your'idea, at present, {throws circular over chair near table l.) 

Arthur {calmly). I am more than sorry that I have oflended you; 
but I assure you, my dear young lady, upon the honor of a gentleman, 
that you quite misunderstand me. Please realize that it grieves me 
deeply that my conduct should bring down your hatred upon my unwor- 
thy head, {snii/es pleasantly, nevertheless.) 

LiL. Hate you? I don't hate you, sir; I despise you too utterly for 
that. Can't you see that your very presence here is an insult ? {pulling 
off her gloves.) 

Arthur {/mowing quietly). Isn't your judgment a little severe, when 
you won't allow me the chance of explaining myself ? 

LiL. What possible excuse is there to justify such a performance as 
this? {ical/cinr/ up and doaui.) 

Arthur. Will you listen while I tell you? and will you allow me to 
finish ? Look, then. In the tirst place, I came out of the theatre very 
late. It was storming fearfully, and the streets were perfectly dark. I 
looked everywhere for a carriage; not one was to be seen. I was just 
about to plunge into the storm '^and start for home, when I heard a car- 
riage coming. I stepped out and hailed it 

LiL. No, sir; J hailed it, 

Arthur. Beg pardon; but I hailed it too. What happened? Just 
as I was about to step in, the door opened on the opposite side, and in 
you came. , . , , 

Ltl. Yes, I did. I had called the carriage, and it belonged to me; 
and it seems to me that the very least a gentleman could have done 
would have been to yield to my claim, without standing there in the 
middle of the street discussing it. ,. . , 

Arthur. But, you see, having no intention of monopolizing the car- 
riage mvself, I doubted not but that from inire humanity you would 
cheerfully Ifet me share it with you. {calmly) I am very sorry if I have 
presumed, {still smiles.) 



4 A WARM RECEPTION. 

Ltl. Reallj^ ! No; I tliink the veiy simplest courtesy demanded that 
you shoukl 

AuTiiui!. Ah, won't you believe that I'm not quite the boor you would 
make me out, esi)ecially when a lady, and a youny lady at that 

LiL. Yes ? (.sro/r-^mv-) 

AiiTHUK. A young- lady at that, I said, is thrown upon my protection. 

LiL. Your protection ? {sOimp.^) Oh ! (iralks up and down.) 

Artiiuk. Beg pardon. Perhai)s it would be to better say that I threw 
myself on her i)rotection; and then she mercilessly wanted to turn me 
out in the face of the storm again, and seltishly keep the carriage all to 
herself. 

LiL. Why do you tell all this ? I know every detail of it already. You 
see tliat it annoys me. 

AiiTiiuii. I'm very sorry; but please be reasonable, and let me finish. 
Well, I i)ersisted in sticking to the carriage, and we agreed that you 
should first be taken home, and then I should be driven round to my 
hotel, I promising solemnly not to open my mouth during the whole 
drive. 

LiL. And you kept your word, I must say — apparently without any 
eflbrt. 

Arthur. I'm sorry to say I did. But you were so closely veiled that 
I had no idea of what manner of companion I was traveling with. I did 
make an eflbrt though — an almost superhuman one. I wanted tremen- 
dously to speak. 

LiL. Did you ? May I ask what about ? 

Arthuh. 1 thought perhaps you would loan a sufierer your spare rug. 
I was almost frozen to death. 

LiL. How al)surd ! The idea ! Why, of course I'm not so mean as to 
wish you to sufl'er. 

Arthur {lofldy). I preferred freezing to breaking my word, and again 
giving od'ence. Now please don't interrui)t me again. (Lilian looks 
wir/rUy perplexed) Almost at your door we turned a corner suddenl}^, 
broke a wheel, and were pitched into the street. 

LiL. Oh ! don't recall it. {covers lier face tcitli her hands) Oh ! it was 
frightful. I must confess, Mr. — {hovs awknutrdly, as she does not know 
his name) that .you held those horses splendidly. I hadn't given you 
credit for much courage, you know, considering your antipathy to a 
snow storm. You see I am just. 

Arthur. Oh, very; especially your last observation, {draws forvard 
his coal) Up to the time of condemning me for a coward, had you hap- 
pened to remark the thickness of this texture as compared with the 
force and penetration of the storm ? No ? Well, I will say no more. 

Ltl. But I do. Why are you here ? Why do you persist in re- 
maining? 

Arthur. Why am I here ? It may have been weakness on my part; 
but when I found after the accident that you were not hurt, and that no 
harm had happened, I wondered for a moment what, under the circum- 
stances, would be the wisest thing to do. I did not know the way to 
my hotel, being a stranger in this city, not a cab obtainable, chilled 
through with the cold, the storm blowing sixty miles an hour, I say it 
may have been weak, but I followed you. I think you are very unkind 
not to have invited me in to rest and warm myself, any way. 

LiL. I suppose you do. You had deserved my most pointed con- 
sideration. 

Arthur. Why not ? Well, I won't find fault if only you won't look at 
mo quite so murderously. 



A WARM RECEPTION. * 5 

Ltl. {tearfully), I think you are very unfair. Whose fault was it that 
we had an accident, any way ? Didn't I hear you tell the coachman to 
drive like mad ? Now please go; I want you to go immediately. You 
can have my cape and this shawl too. {fetching tliem) The storm must 
bo nearly over now, {yoiwj to n-indoir) and you can get back to your 
hotel without injuring your precious health. 

ARrniiR. You seem to forget that I am an utter stranger in the city. 

LiL. {unp'tfienlly). You will find some one to show you the way. 

Arthur. What ! at this hour ? People on the street? Don't you re- 
member that not a soul answered our cry for help when we broke down 
out there ? Well, I think you might otter me the escort of one 'of your 
servants. How would you like to read in to-morrow morning's pa- 
per, that a young man bearing my description was found by the milk- 
man, early in the morning, dead in a snowdrift ? 

LiL. {niockuKiln). I presume I should swoon on the spot. 

AuTiiLMt. You are a very hard-hearted young lady, I fear. But, very 
well, if you insist 1 go. Kemember my last words— my blood will be 
upon your head, {hef/uis- to Ijntton up /its coat.) 

Ltl. I wish you would not talk so. The truth is, I cannot let you have 
a servant, because there is not one in the house. Papa sent oil' his man 
this morning, and was to call for me at the tlieatre at the close of the 
performance. I cannot imagine where he can be. 

Arthur idr<>i),uur/ Ins Itnt). Good Heavens ! Have you a father ? I 
never thought of such a circumstance. Angels so seldom have fathers, 
you know. \ho(n)i'i) I have an idea. You introduce me to your papa; 
I'll wait here. You will see that he will have some pity for a poor un- 
fortunate—not try and murder him, as you are so willing to do. 

LiL. {siiikiui/ into a cluitr and dr())>pinr/ tlie irraps). Well, I shall give 
you up. You don't begin to know what you're talking about. Call my 
father to come and find you here ? 'Twould be the last time you'd ever 
be caught in a snow storm. Mad ? Why, he's terrible when he's angry. 

Artulr. Why should he be mad at the sight of me ? Oh really I must 
decline to believe yonr father a brute, without better proof than that. 
{seats hinise'f again.) 

Lir,. {starin'j at liim). Wliat are j'ou sitting down again for? Won't 
you please go ? Well, I'll explain to you then. Perhaps if you realize 
that I am really distressed and that you are getting me into trouble, you 
will do as I ask. {almost in tears.) 

Arthur {s'rionsl//). I don't understand, {rising/) I beg your pardon— 
I'm quite ashamed 

Lir,. No, sit down now. I will tell you. When I was quite a little 
child my mother was taken away. She died from fright. She was ill 
and very nervous, and. one night when she was alone in the drawing- 
room a man appeared at the window. Mamma thought he was a burg- 
lar. She started to run, but was too weak, and fell on the floor in a 
dead faint. She revived for a few minutes, but later fell back and died 
just as papa arrived. He loved her devotedly, and was distracted at 
her death. Since then he has utterly withdrawn from society, and we 
live here quite alone. You can understand now from what I have told 
you that the sight of a stranger here, together with the surprise and 
knowledge of our adventure, will make him very angry, and it will be 
dirticult for me to explain your presence here. 

Arthur. Poor child ! 

Ltl. No, no, don't think papa is ever unkind; he simply detests sur- 
prises and adventures, and, above all, hates strange young men. 



Q . * A WARM RECEPTION. 

Arthur. Strange? Ah, yes, to be sure, {produces Ids card) Allow 
me. {'/n-ese/Us it.) 

LiL. {reads it sloidy, then rises and steps hac/,). No ! you ar.e not Ar- 
thur Harding? {//e boirs) Good Heavens! is it possible? 1 did not 
recognize you. But on the stage you look quite dilierent. 

Arthur. Yes, my Grecian robes are not quite of this cut {lanfjhinr/.) 

LiL. You really "the great actor Harding? And I have been looking 
at you all the evening ! Ah ! how wonderfully you play — wonderfully ! 
Why, you know, I sat in the box, right next to the stage, and I never 
took iny eyes off of you. You were beautiful — no, I mean — that is — 
you 

Arthur {pids out his hand, she. relucfanth/ gives hers). Look ! Let 
us be enemies no longer. I am very sorry and ashamed for my whole 
evening's performance, in that I have offended you; but it was not 
through impudence, but through — {/xtuses sn-iousUi) Well, nevermind 
what. I must tell you the truth. I have seen you before to-night — 
often in the streot^-knew you were in the box all the evening, and, in 
order to see you again, waited after the performance. Now am I par- 
doned ? 

LiL. [rjpnth) withdrawing her hand and leaving him). Yes, yes, of 
course. You see I'm surprised, {coming t^ack awl giving him her hand 
again) There, I wont be your enemy. I can't say any more now. {moves 
ciivay) But you nmst go, Mr. Harding, and please go immediately. Papa 
may be here any moment. 

Arthur. I will, {picking iq^ his hat) But first — {taking her hand 
again) first, won't you tell me the name of my little new friend ? 

LiL. I ? Mine, do you mean ? Oh, Lilian. 

AiiTHUR {(jentlij, looking do ion at her). Lilian ! {she starts) Thank you. 

LiL. No, i mean Miss West. 

Voice of General West heard outside. 

General. Don't talk, you driveling idiot ? What do I hire you for? — 
To obey my orders; and you haven't done it. Missed her? — missed my 
daughter, and let her come home alone. Wliere were you, eh ? (a whini- 
jieriiig voire heard to answer. Lilian and Authuk stare at each other 
and listen.) 

Ltl. {frightened). Too late ! Oh, good Heavens ! what's to be done ? 
Pa]3a is furious. Wait — I have it." Come, quick, in there. {poiiUiug 
to R.) 

Arthur. Allow me to suggest 

Ltl. {pushing him bef>re her). Go, go ! Hurry ! Please refrain from 
a discussion this time, and obey. [Exeunt, r. d. 

Enter General West, c. -d., followed hy Mary. 

Grneral. Where were you ? Where were you, I say ? Didn't I tell 
you distinctly to be there at ten o'clock, and wait by the left entrance ? 
Didn't I, eh? {J>rin<is douyi his cane.) 

Mary {rj-ying). Yes, sir. 

General*. Don't contradict me, j^ou idiot. 

Mary. I wasn't sir; I said 

General. Hold your tongue! PR wager ten dollars you didn't go 
near the the theatre — met your beau somewhere, eh ? 

Mary. No, sir; I haven't any. 

General. Then you didn't go to the theatre ? 



A WARM RECEPTION. 7 

Mary. On my soul, sir, I was there, at just ten o'clock, sir. 

General. What were you doing theret (siam i> in r/) LW'mn alone at 
this liour ! Where is my daughter ? Go tind her, and if she has the 
sole of her foot wet, you'll pay for it. March ! {e.vit Maky, l. d.) My 
Lilian alone ! Why did I let her go to the theatre ? I knew something 
would happen. She should have waited for me; she knew I was to be 
there. Just like women — heedless. Only to think of her standing down 
there alone, and perhaps some dude walking up and speaking to her ! 
{</<'tliii<i viore wigr!i)\N\m\v\ where is she?" She must be at home by 
this time, (c, d'i>) Lilian ! Lilian ! 

Enter Liijax, r, d., followed by Arthur in livery. 

Ltl. {rxnninr; up to her father and taking his arm). Oh! papa, 
wliore were you ? 

Genkkal {taking hold of her and looking at her). Where was I ? What 
did you run away "from your old father for, eh ? I waited there and you 
didn't come. Ho\v did you get home ? {turning on Arthur) Who's this ? 

Arthur {sfe/)/iing forward and boiring). Sir, I 

General. Hold your tongue till you're spoken to. 

Ltl. (motioning AirriiUR to ke<g> stUl and sfe/i Jnick). WHiy, papa dear, 
I waited for ever and ever down there by the right entrance. 

General. Left! 

LiL. No, right! 

General. Right? Just my luck. I waited at the left; so did Mary. 

LiL. {Ifuighin)/). Then there's not much wonder that we didn't meet. 
But by the" luckiest chance I ha] )pened to meet our new servant there, 
(pointing to Artihu;) and he got me a carriage. 

Gexioral. Not the fool he looks. Shouldn't have thought he would 
have known enough, {taming to Arthur) Ever been in the military 
service ? 

Arthur {ind/gnanfl//). No, sir; but 

Gener.al. Keep still, I tell you. Go tell Mary we want the tea. 
Right wheel, march ! Out with you, wooden-legs. (Lilian motions him 

tor,n.) [RcitKKVWVK, L. D. 

General. Tell me, dear child, where did you get that booby ? {they 
walk up and dovui vutJi his hand on her shoidder) Can't have him 
here— want a good solid old servant, who knows his business— must 
send this one olF. 

LiL. Yes, papa, onlv you see I didn't want to be quite without any. 
This man came and applied, and I thought I'd try him ; but I will send 
him away to-night. 

General. No, he must stay till to-morrow; I want him to-night. 

Lir. But I have already told him he could go. He's so horribly green, 
you know— really, he's done more harm than good; and for just one 
iiight we can get'on witliout him, eh ? 

General. No, he must stay here to-night. Some one's commg. 

Ltl. Papa, you're fooling. Not at this hour— a guest? Good gra- 
cious ' 

General. You'll see. {ealls) Hi there, you ! {to Lilian) Wliat's the 
fellow's name ? 

Lil. Arth— Oh!-Idon'tknow. I'll fetch him. _ 

General. No, you stay here, {calls) Joseph 1 William ! Francis ! Ste- 
phen ! 

Enter Arthur, l. d. 

Arthur. Sir ! 



8 A WARM RECEPTION. 

General. Got cotton in your ears, eh ? Can't hear when you're 
spoken to. What's your name ? 

ARTiiuit. Artliur, sir. 

General. Arthur? — Ar-thur ! (mockingh/) Ar-thur ! I've lived, have 
I, to have a servant named Ar-thur ? {disya.siediij, seatimj himself ) Pull 
oil' these overshoes. 

Arthur. Sir t {//es Hates; lookft at Lilian; at a scoicl from her he 
droits 0)1 his knees and aftem.jjts to pull offshoi^s.) 

Gi:neral. Ouch ! Hi there, what are you doing ? Want to break my 
le<i; ? (Arthl'r pnlls more gentli/ and takes offjirsl overshoe.) 

LiL. Papa, who is coming? Tell ine. 

General. Major Fielding. (Artfiur pulls off second overshoe and 
drops foot irith a bang) A— h ! What do you mean ? 

Arthur. Beg pardon, sir; I thought you mentioned 

General. None of your business whom I mentioned. You pay at- 
tention to your work. (Arthur picks up overshoes a)id starts out) Come 
back here. By all the elements, where are you going ? {angrdy) Know 
how to till a pipe ? 

Ain'HUR {calmly). Yes, sir. 

General. You do, Ar-thur? Wliew ! Be about it then, over there 
in the corner. March li/o Lilian) I saw Fielding coming out of the 
railway station — was just going off to some hotel; (Arthur listens) so 
I invited him to come'here^, of course. Poor old chappie ! he's hard hit. 
What do you suppose ? Instead of settling down, like a man of com- 
mon sense, that idiot son of his, aster a row with his father, left home 
secretly, joined a travelling company, and is acting all over the country. 
(Arthur draws nearer, listening intentli/ and still staffing the (d7'eady 
filled pipe) What are you doing with that pipe, eh ? (Arthur dro])s pipe 
'on /A(^/oor) Break my pipe next, will you? Blockhead! Deuce take 
your nonsense ! 

Arthuk. Beg pardon, sir; but I forgot. I was listening 

General. Listening, were you? Listening a second time? That's 
enough. Out with you. March I Go tell Mary we want that tea. (Ar- 
thur, still controlling his temper, hands General pipe.) 

Ltl. {soothingly). Papa, papa, do leave him alone. Here, give me 
that pipe ; Fll fix it. 

General. No; does me good to swear at him. Fellow's under-witted; 
stuffed pipe way up the stem. [Erit Arthur, l. d. 

LiL. What were you saying of Major Fielding ? His son has left him 
without his knowledge ? Impossible ! 

Genkral. Fielding went off on a visit, and the young man skipped. 
They had a row, of course. You know, Lilian, we had always in- 
tended that you and young Fielding should marry. You will be flat- 
tered to hear what the young fellow thought of the proposition. He 
readied his twenty-tifth birthday two months ago, and the old man 
made over half his property to him, suggesting that he should, accord- 
ing to our plan, come u]) here, arrange for your hand, then go back 
there and settle down. The Major told him this scheme quite quietly 
and calmly, never expecting opposition. It was like shaking a red rag 
at a bull. " Marry ? He marry a girl he'd never seen, and didn't love ? 
{mockingly) Nev-er ! " The fellow's an ass, Lilian ? What did he do ? 
Ever since he was a youngster he has always interested himself in the- 
atricals. Some pack of girls or imbecile old women have told him he 
has talent, and, by Jove ! he's believed it — has joined a theatrical troup 
and is playing round the country. 

Lil. {snirpressing her indignation). What does the Major say about it? 



A WARM RECEPTION. 9 

Gf.nkral. Just what I've told you. They had a row, and the old man 
showed him the door, I suppose. At any rate, he left. 

LiL. Left in anger, while his father was away ? I'm sorry for them 
both. 

Gkneral. Are you? Well, I'm not. He's an ungrateful puppy. In- 
stead of obeying his father, who loves him and is trying to do what's 
best for him, he runs oH' and joins a theatiical company— writes back in 
a week or two that "he declines all assistance — {inockinr////) will work 
for his living and make himself a name, but will never consent to be 
joined to a woman he cannot love." That's you. Pigheaded booby ! 

Liu If you keep on calling him names, papa, I don't think I shall re- 
gret not having married him. Do you know, I think he has done right. 

Gkneral (yv/re.s). You do? You're a nice one to stand up for him. 
Leaving his old father, who has so doted on him, to go upon the stage. 
On the stage, my dear, in behind the scenes, running round in front of 
Maiy Anderson, swinging incense, or holding up Mrs. Langtry's train. 
Good profitable business that for a young man. 

Lir>. Perhaps he has talents, as they say, and can make his way. It 
isn't impossible. 

Gkneral. I don't care if he's the greatest success on earth — he's an 
actor, stands around in front of the footlights, with his cheeks all painted 
up, and makes an ass of himself. I've seen them. 

LiL. Well, pai)a, you should have seen the young man who played at 
the theatre to-night, and you would not be so unjust. He's hardly been 
on the stage two month3,'they say, and he was cheered to the echo, and 
encored again and again. They say he going to be very great. 

Genkral. Do they ? Well, he is the exception that proves the rule. 
Don't you forget it; young Fielding will never make a mark, unless it 
be a black one. 

Enter Arthur, c. d., carrying empty salver ; crosses to l, and exit l. 
D., looking back kiiowingly at Lilian. 

LiL. {slowly and thoughtfully). Where is the young man now, papa? 
General. No one knows. He's playing mider an assumed name. 
Poor old Major ! 

Enter Arthur, l. d., with some teaspoons ; crosses and exit c. d. 

He's all broken up al)out it. (looks at watch) He ought to be here by 
this time ; he had some luggage to look after, 

Enter Mary, c. d., carrying travelling-bag, ichich she takes across 
and out l. d. 

Ah ! there's part of him. " Coming events cast their shadows before." 
Go, Lilian, (piickly, and see about the tea. I want some myself, and 
the Major will be frozen through. 

Exit Lilian, l. d. Enter Major Fielding, c. d. 

Your hand, old fellow. So, here you are at last, and right welcome too. 
We'd almost dven you up. Your luggage is in yonder, {points l.) and 
I hope you will be put up quite comfortably. You'll excuse lack of 
servants, eh?— got a new one to-day, and he's a blunderhead— gets every 
thing wrong end foremost. 

Major {slippi)ig of overcoat and lavinq hat on tablp). Don't mention 
it, West; don't mention it; I can take care of myself. I shan't notice 



10 A WARM RECEPTION. 

any neglect. I don't think I notice anytliing of late — since my son left 
me. 

General. Tiiere, there; never mind him. That will all arrange itself 
for the best. Just sit down and make yourself comfortable; tea com- 
ing right in. [seal themselves at fire, r.) Now then, what is the news ? 

Major. None — unfortunately none. I can't tind out where he is. 

General. No matter about him, my old friend; try and think about 
something else. Fate will take care of all that. 

Major. Can't help it, West. He was all I had. I fear I was too 
harsh. But he had never seen Lilian — never had seen the girl. This 
will make no difterence, General ? You don't take offence at his actions ? 
No ? {then shake hands) I thank you. AVe must not split friendship if I 
can help it. 

GENERAL. What do you take me for ? After all the battles we've been 
through together, do you think I'd back down for an affair like this ? 
Not if I know it. 

Enter Arthur, c. d., iviih tea, fo/lomed hy Lilian wUh cake ; they pass 
to table L. 

Major. AVest, you have always been a firm friend. I appreciate it. 
(Artmur turns at his tcords, and drn})s a citp on tJie floor.) 

Arthur. Father ! (General a)id Majob, Jump from their chairs.) 

General. Great Heavens ! 

Major. Arthur ! My son ! You here, in this house — and in this 
dress ? 

LiL. (aside). I thought so. 
- General. Have I "got 'em again," or what does all this mean ? 

Arthur. It means. General West, that I am Arthur Fielding. 

General. Wh-at? By all the powers ! 

ARTMuit. The same; who left his home to do what he thought was 
right. Father, lam sorry for it all; but I cannot regret the step. I 
have made my name famous, and have earned a place in the world. 

Major. Your hand, my boy. We'll have no more hard words. 

Arthur {jjiving hand, and then turninf/ to the General). General 
West, I left my home because I refused to be married to a woman I 
then did not love. Since then I have learned better, and now love your 
daughter with all my heart and soul. Will you give her to me {lan.gh- 
i)ir/ over to Lilian) if I can get her consent. 

General. Upon my word, I don't know what to make of all this. A 
man in livery walking in here at midnight, and demanding my only 
daughter ! 

Major {r/oinn vp to General and layinri his hand on his shouldi'v). 
For my sake, A¥est. Lilian, speak up, my child. Will you marry my 
boy ? 

LiL. {rerii much embarrassed). I — I — I 

Arthur [r/oing to her and talang both her hands). Lilian, j^ou will not 
refuse? {he places his arm about her, and her head drops on his 
sJionlder ; he smiles victor ionsli/.) 

U\joK {raising his ha)id). Bless you both, my children. May you 
never know anytliing but hapi)iness. Arthur, one thing more: For the 
sake of your old father, will you not come back to the homestead. You 
know there's enough, and more than enough, for us all. (Lilian raises 
her head and looks entreatingly into tier lover's eyes.) 

Arthur {after a struggle). I will, sir. {holds out his hand) There's 



A -WARM RECEPTION. H 

my hand on it. I think in my heart too, in spite of my laurels, I shall 
be glad to get back. 

General {who has not yet recovered from his astonishment). Well, 
perhaps now that you two have made it up, and presented yourselves 
with my daughter, you will allow me to have a word to say. (Ltltan 
holds out her hand to her father) Oh, I consent, my dear, I consent — 
only would you mind telling me where you two met ? 

Lilian a)Kl Arthur {together, with his arm still about her). In a 
snow storm ! 

CUBTAIK 



STAGE DIRECTIONS. 

R. means Right of Stage, facing the Audience; L. Left; C. Centre; R. C. Right of 
Centre; L. C. Left of Centre; D. F. Door iu the Flat, or Scene rnuuiug across the 
back of the Stage; C. D. F. Centre Door in the Flat; R. D. F. Right Door in the 
Flat; L. D. F. Left Door in the Flat; R. D. Right Door; L. D. Left Door; 1 E. First 
Entrance; 2 E. Second Entrance; U. E. Upper Entrance; 1, 2 or 3 G. First, Second 
or Third Groove. 

R. R. C. C. L. C. L. 

jg^ The reader is supposed to be upon the stage facing the audience. 



The Ulster. 

A FARCICAL COMEDY, IN Three Acts. 

By SYDNKY ROSKNKKLD. 

Eleven male, seven female characters. An irresistibly fixnny play 
full of action and amusing dialogue. A capital piece for a good amateur 
company. Costumes of the day. Scenery, two interiors, easily managed. 
Time of playing, two hours. PRICE, 15 CENTS. 



SYNOPSIS OF EVENTS. 

ACT I. 

DRAWING ROOM OF MR. FLIPPER'S HOUSE IN 
NEW YORK. 

An early call — Search for the Ulster — Mike and Patsy exchange 
compliments — The English footman — Mr. Flipper's jealousy — Quick, 
the detective — A suspicious character — Circumstantial evidence — Sadie 
confides in her aunt — The new groom — Another clue — The torn envel- 
ope — An affair of honor — Peter embarrassed — The first kiss. 

ACT 11. 

RECEPTION AND EXHIBITION ROOM AT PROF. 
BARTONS. 

The Ulster reappears — Barton's system — Agnes on parlor skates — 
A bad fall — Courtship on rollers — The proposal — Deaf as a post — A 
little angel on wheels — The music teacher — Mr. Flipper bewildered — 
A legal separation — Poison to cure poison — Sobs and tears. 

ACT III. 

MR. FLIPPER'S DRA WING ROOM. 

Patsy and the " muzishian " — A stranger appears — Do not rob 
me ! — A glass of wine — Quick's testimony — My son ! my son ! — Whose 
Ulster is this?— The mystery solved — A round of laughter. 

Copies sent, post-paid, to any address on receipt of the price. 



DE WITT'S ETHIOPIAI^ AND COMIC DEAMA.-Coiitmued. 



33. 

94. 
103. 



18. 

60. 

37. 

90. 
109. 

19. 
149. 
151. 

9S. 
147. 

129. 

101. 

117. 

44. 

8. 

119. 

49. 
132. 
145. 

22. 

27. 
125. 

30. 
114. 

76. 
91. 
87. 

135. 

92. 
9. 

57. 

65. 

66. 
115. 

14. 
105. 

45. 

55. 



M. F. 

Jealous Husband, sketch 2 1 

Julius tke Suduzex'. burlesque, 3 sc. 6 1 
Katiiua's Little Game, Dutch act, 

1 sceue 1 1 

Last of tiie Mohicaus, sketch 3 1 

Laughiufj Ga«, sketch, 1 sceue 6 1 

Live lujuu, sketch, 4 sceues 4 1 

Lost Will, sketch 4 

Lucky Job, farce, 2 scenes 3 2 

Luuatic (The), farce, 1 sceue 3 

Makiug a Hit, farce, 2 scenes 4 

Malleolus Trespass, sketch, 1 sceue. 3 
'.Meriky, Ethiopian farce, 1 sceue... 3 1 
Micky Free, Irish sl^etch, 1 sceue . . 5 
Mltluight Intruder, farce, 1 sceue . 6 1 
Milliner's Shop (The), Ethiopian 

sketch, 1 sceue 2 2 

Moko Marionettes, Ethiopian eccen- 

t)"icity, 2 scenes ... 4 6 

Molly Moriarty, Irish musical 

sketch, 1 sceue 1 1 

Motor Bellows, comedy, 1 act 4 

Musical Servant, sketch. 1 scene.... 3 
Mutton Trial, sketch, 2 scenes .... 4 
MyWife'sVisitors, comic drama,lsc. 6 1 
Night in a Strauge Hotel, sketch, Isc. 2 
Noble Savage, Ethi'n sketch, 1 sc. .. 4 
No Pay No Cure, Ethi'n sketch, 1 8C. 5 
Obeying Orders, sketch, 1 scene.... 2 1 

100th Ni-ht of Hamlet, sketch 7 1 

Oh, Husli ! operatic olio 4 1 

Oue Night in a Bar Eoom, sketch . . 7 
One Night in a Medical College, 

Ethiopian sketch, 1 scene 7 1 

One, Two, Three, sketch, 1 scene.. 7 
Painter's Apprentice, farce, 1 scene. 5 
Pete and the Peddler, Negro and 

Irish sketch, 1 sceue 2 1 

Pleasant Companions, Ethiopian 

sketch, 1 sceupi 5 1 

Polar Bear (The), farce, 1 scene. ... 4 1 

Policy Players, sketch, 1 scene 7 

Pompey's Patients, interlude, 2 sc. 6 
Porter's Troubles, sketch, 1 scene.. 6 1 

Port Wine vs. Jealousy, sketch 2 1 

Private Boarding, comedy, 1 scene. 2 3 

Recruiting Office, sketch, 1 act 5 

Rehearsal (The), Irish farce, 2 sc... 3 1 
Remittance from Home,sketch.l sc. 6 
Rigging a Purchase, sketch, 1 sc... 3 



81. 

26. 

Iba. 

15. 

69. 
21. 
80. 

84. 
38. 
74. 
46. 
69. 
56. 
72. 
13. 
16. 
7. 
121. 

47. 

64. 
100. 
102. 

34. 

122. 
2. 

104. 
5. 

28. 
134. 

62. 

32. 

39. 

75. 

93. 

29. 

97. 

137. 

143. 



85. 
116. 



M. F. 

Rival Artists, sketch, 1 sceHe 4 

Rival Tenants, sketch 4 

Rival Barbers' Shops (The). Ethio- 
pian farce, 1 scene 6 1 

Sam's Courtship, farce, 1 act 2 1 

Sausage Makers, sketch, 2 scenes.. 5 1 

Scampini, pautomime, 2 scenes 3 3 

Scenes on the Mississippi, sketch, 

2 scenes 6 

Serenade (The), sketch, 2 scenes.... 7 
Siamese Twins, sketch, 2 scenes. . . . 5 

Sleep Walker, sketch, 2 sceues 3 

Slippery Day, sketch, 1 scene 6 1 

Squire lor a Day, sketch 5 1 

Stage-struck Couple, interlude, 1 sc. 2 1 

Stranger, burlesque, 1 sceue 1 2 

Streets of New York, sketch, 1 sc. . .' 6 
Storming the Fort, sketch, 1 scene. 5 

Stupid Servant, sketch, 1 sceue 2 

Stocks Up! Stocks Down! Negro 

duologue, 1 scene 2 

Take It, Don't Take It, sketch, 1 sc. 2 

Them Papers, sketch, 1 scene 3 

Three Chiefs (The), sketch, 1 scene. 6 

Three A. M., sketch, 2 scenes 3 1 

Three Strings to one Bow, sketch, 

1 scene 4 i 

Ticket Taker, Ethi'n farce, 1 scene. 3 

Tricks, sketch . 5 2 

Two Awfuls (The), sketch, 1 scene,'. 5 

Two Black Koses, sketch 4 1 

Uncle Eph's Dream, sketcli, 2 sc... 3 1 
Unlimited Cheek, sketch, 1 scene.. 4 1 

Vinegar Bitters, sketch, 1 scene 6 1 

Wake up, William Henry, sketch. . . 3 
Wanted, a Nurse, sketch, 1 scene, . . 4 
Weston, the Walkist, Dutch sketch, 

1 scene 7 l 

What shall I Take ? sketch, 1 scene. 7 1 
Who Died First ? sketch, 1 scene. . . 3 1 
Who's the Actor? farce, 1 scene.... 4 
Whose Baby is it ? Ethiopian sketch, 

1 sceue 2 1 

Wonderful Telephone (The), Ethio- 
pian sketch, 1 scene 4 1 

Wrong Woman in the Right Place, 

sketch, 2 scenes 2 2 

Yotmg Scamp, sketch, 1 scene,, 3 

Zacharias' Funeral, f^ce, 1 scene.. 5 



I *a^— -3^ A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACT- 
lN2^~*ING PLAYS AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, 
containing Plot, Costume, Scenery. Time of Representation, and all other informa-^ 
tion, mailed free and post paid on application. Address 

THE DE WITT PUBLISHING HOUSE, 

No. 33 Kose Street, New York. 



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HOW TO MAITAaE 
AMATE^JE THEATRICALS. 



Being plain instructions for construction and arrangement of Stage, 
making Scenery, getting np Costumes, '■'■Making Up^^ to represent 
different ages and characters, and how to produce stage Illusions and 
Effects. Also hints for the management of Amateur Dramatic Clubs, 
and a list of p^oces suitable for Drawing Room Performances. Hand- 
somely illustrated with C-'^ Ted Plates. 

JPrice, 25 Cents, 



DE WITTS SELECTIONS 



AMATEl Al PARLOR TMTEICALS. 

Nos. 1, 2, 3, 4 &; 5, 

Being choice selections from the very best Dramas, Comedies and 
Farces. Specially adapted for presentation by Amateurs, and for 
Parlor and Drawing Room Entertainments. 

Each number, 25 Cents, 

PANTOMIME PLA Y, 

'^HUMPTY DUMPTY," 

The celebrated Pantomime, as originally played for 1,000 nights by tho 
late George L. Fox. Arranged by John Denier, Esq. Eight male, 
four female characters. 

Frice, 25 Cents, 



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